3 research outputs found

    Finishing the euchromatic sequence of the human genome

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    The sequence of the human genome encodes the genetic instructions for human physiology, as well as rich information about human evolution. In 2001, the International Human Genome Sequencing Consortium reported a draft sequence of the euchromatic portion of the human genome. Since then, the international collaboration has worked to convert this draft into a genome sequence with high accuracy and nearly complete coverage. Here, we report the result of this finishing process. The current genome sequence (Build 35) contains 2.85 billion nucleotides interrupted by only 341 gaps. It covers ∼99% of the euchromatic genome and is accurate to an error rate of ∼1 event per 100,000 bases. Many of the remaining euchromatic gaps are associated with segmental duplications and will require focused work with new methods. The near-complete sequence, the first for a vertebrate, greatly improves the precision of biological analyses of the human genome including studies of gene number, birth and death. Notably, the human enome seems to encode only 20,000-25,000 protein-coding genes. The genome sequence reported here should serve as a firm foundation for biomedical research in the decades ahead

    New Light on the Mid‐Fourteenth‐Century Chace

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    The recent discovery of two canons in the manuscript containing the famous Tournai Mass changes the history of canonic genres. This article situates the new Tournai canons within the surviving mid-fourteenth-century canonic repertoire from Francophone regions of Europe, especially canonic chaces in the Ivrea manuscript and the works of Machaut. To achieve this, we examine current theories of canonic techniques before setting out our own analytical framework. In a departure from the dominant view informed by the use of color and talea in tenors of the fourteenth-century isorhythmic motet, we propose instead that the solus tenor can in part inform a better understanding of early strategies for planning and composing canons. Alternatively, some canons can be better appreciated from the basis of a ‘top-down’ compositional approach found principally in the song repertoire of the mid fourteenth-century ars nova. Within this analytical framework, shared principles of isoperiodicity, voice exchange, melodic permutation and melodic design across the mid-fourteenth century French repertoire point to a common stock of techniques for composing canons. The Tournai canons provide early witnesses to these techniques, although they avoid more exuberant stylistic elements such as hocket
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